I do prefer the stage. It's really the granddaddy of them all.

I have always striven to raise the voice of hope for a world where hate gives way to respect and oppression to liberation.

I know for certain of only one commandment, one obligation, that God imposes upon us, and that is to be compassionate toward other human beings.

I make no claim that Jewish culture is superior to other cultures or that the Jewish song is better than the song of my neighbor.

I prefer to choose which traditions to keep and which to let go.

I remain convinced that I can be a true universalist only when I am a better Jew.

I'm exceedingly proud of being an actor, but I never recommend it to anyone.

If I have one vanity wish, it would be to direct. It's the only thing I haven't done yet that I would like to.

In my mind the city of Ariel is a thorn in Israel's side and a serious obstacle to peace.

No doubt, unity is something to be desired, to be striven for, but it cannot be willed by mere declarations.

No movement can afford to be caught in a time warp and exist in a state of suspended animation.

On the stage you're there, it's live. There's a beginning, a middle, an end. When something is funny you hear it right away.

Right up to the middle of this century all perceptions of the world around us were delivered via the bookshelf or the paper route.

The play is always fresh to me. It's not the audience's fault that I've said the words before.

Throughout my life I have cared as deeply about the songs of all peoples as I have about the rights of all peoples.

We Jews have a special attachment to the Book. The study of page after page in tomes yellowing with age was obligatory.

When something is moving you get that intake of breath and that stillness from the audience.

You don't really need modernity in order to exist totally and fully. You need a mixture of modernity and tradition.

You learn more from the flops than from the hits.

You learn more from the flops than you do from the hits.